Escape c. 1937

Clay Edgar Spohn created this drawing titled, Escape, sometime in the 20th century with graphite on paper. Just look at the density of marks in this piece, the way he builds up tones and textures. It's a beautiful demonstration of process, where the act of drawing itself becomes the subject. The heavy shading around the group of figures on the left gives them a spectral, almost ghostly presence. See how that dense graphite contrasts with the open space of the beach? The texture of the paper is visible through the lighter areas, and this adds another layer of complexity. The marks feel very present, as if Spohn were thinking through his ideas directly onto the page. Check out how he uses cross-hatching to create depth and volume, especially in the archway and the rocks. Spohn reminds me of other artists who embraced the raw energy of mark-making. I'm thinking of someone like Cy Twombly, but also the way that outsider artists embrace the power of simple, direct gestures. Escape invites us to lose ourselves in the making, and to find meaning in the traces of the artist’s hand.